#tchad blake

[nofatclips]

Gentle Pulsing Dust by Richard Reed Parry from the album Quiet River of Dust Vol. 1

[manitat]

Slušam No Wow (The Tchad Blake Mix 2022)...

[thefinn-ternet]

Day: June 29th

#Finn365

#MitchellFroom

@CrowdedHouseHQ

Mitchell Froom - Happy Birthday - 29th June 1953 🎁🎂🎁🎂🎁🎂

Crowded House - 13th Floor MusicTalk with Mitchell Froom

MWTM Q&A #19 - Mitchell Froom & Tchad Blake

[glynjohnsfurcoat]

[firstkanaphans]

Thanks for posting The Heart Killers playlist. I noticed the Chuck Berry song ‘You Never Can Tell’ is from the iconic dance scene with Uma Thurman and John Travolta in the crime comedy film Pulp Fiction. I wonder if there will be an Easter egg in the series referencing that.

Drive (Incubus), California (Tchad Blake Mix) Island in the Sun(Weezer) gave me heavy nostalgic vibes for the early 00s. I love that Jojo makes a playlist because it really gives you the vibe of the characters and show. He’s so thoughtful and purposeful about his direction and choices.

You're welcome!! And yeah, one thing you can't fault P'Jojo on is his passion. He loves movies and television and he really seems to have dedicated his career to taking his favorite stories from when he was younger and making them gay. I would not be surprised if Pulp Fiction was one of his inspirations for The Heart Killers. "Bang Bang," which I know was used in Kill Bill, was on that playlist as well. And several people in my ask box have pointed out that Bison's style seems to be heavily influenced by Leonardo DiCaprio in Baz Luhrmann's Romeo + Juliet, so the late '90s/early '00s vibes are strong with this one. That's why I'm willing to forgive a few bad outfits. P'Jojo's trying to heal his inner (gay) child and it warms my heart that he's getting the chance to. No other director feeds us quite as well as he does.

[sinisternymphette]

''We've been on the run, driving in the sun, looking out for number one..Outer Banks here we come, right back where we started from..''

''On the stereo, listen as we go, nothing's gonna stop me now. Outer Banks here we come, right back where we started from''

[blindrapture]

so I got Peter Gabriel's newest album, i/o. I was curious about it; I've never owned a Peter Gabriel solo album before. ("I loved him in early Genesis" would be an understatement. just, never got around to his solo work!) so this is my first. I like the man himself, I love his singing voice, I admire him as a public figure. and this album looked... rather interesting!

because, see, it's an album with three faces. there's 12 songs on three discs. each disc has all 12 songs, but each disc is mixed by a different person with a different approach to audio engineering. so there's a Bright Side Mix (mixed by Mark 'Spike' Stent, described as like a painter's approach to the album), a Dark Side Mix (mixed by Tchad Blake, described as like a sculptor's approach to the album), and an In-Side Mix (mixed by Hans-Martin Buff, a very fancy mix that makes you feel like the music is happening all around you). so. to listen to this album is, ultimately, to hear it three different times.

anyway, so, I've listened to the Bright Side to start with. I've listened to some of the songs multiple times, as some of them got my attention right away and I already love them. and I've begun a sort of... comparative listen to the Dark Side, so I'll be listening to the Bright Side songs again and then immediately following up with the Dark Side version.

I am willing to go to lengths to experience this because, uh, this album fucking rocks??? not.. not like rocks, it's definitely not a rock album, it is far closer to a pop album. with my limited experience listening to entire pop albums, I can only really compare this to a few things-- Coldplay, Radiohead's A Moon Shaped Pool, Madonna or Poe. it sounds very modern. it is probably something other people will be much less impressed with, though may also really like straight away! the songs are all at consistently slow tempos, with soundscapes of synths, bass guitars, varied percussion, and a full string orchestra that comes in at cinematic moments on each track. it's.. like, it's not the kind of music I normally listen to outside of if it's in a film or a video game, I definitely don't normally listen to entire albums of this. and it's taking me a lot of focus to really dig into and notice things, learn the songs. but it having multiple mixes encourages that!!!

and. like. there are really a lot of slow songs on here, there's one that's entirely voice, bass, and piano, and there are some songs that I would consider "bops" but this is not a bop album. but. it's also not what I'd expect from pop-- and wikipedia classifies it as "art pop"-- because the average song is like 5 minutes long, there are a lot of 6 minute songs, and there's even a song approaching 8 minutes. though there aren't exactly loads of lyrics either; this album spends a lot of time just letting the music groove and breathe!!! I'm... super impressed with that.

what else. uh.

naturally, I've been mega curious about that whole... "three versions of each song" deal. I didn't know what to expect from it. and I'm only two songs into the Dark Side Mix, but I do have a clearer idea now. the Dark Side so far strips back some of the more melodic side instruments, where they're otherwise busy and add onto the verses and stuff, and instead cranks up the drums and the bass. even in the vocals, the lower parts are far more pronounced. gives a very different flavour to the many moments of groove and atmosphere. I would not consider it inaccurate to draw comparisons with how Sonic 3 & Knuckles handles its Act 2 mixes in later levels, where the songs aren't immediately different but there is a definite shift in focus. (plus, comparing things to Sonic is in character for me.)

like. specifically. track 1, "Panopticom," isn't all that different between mixes, and I can kinda give or take each version. I think that song's drum part can drown out the riff, so the Bright Side holds its own by mixing the drums a bit softer, making the whole song sound like... 80s/90s synthpop of some sort. but track 2, "The Court...." hoo boy. first of all, that song grew on me very quickly. it has a flow to it, it has a mood to it, it is really fun. both mixes are, frankly, great. and the Bright Side Mix is superior in exactly one place-- the line "we know that justice is blind" at the end of the song just.. sounds better here, I really like how it sounds. but "The Court," Dark Side........ ohhhh man. that is where the true excitement to this album began for me, my excitement at how they're doing this multi-mix thing. Bright Side got me to like the song, know what to expect, and I really liked the song! but then Dark Side.... brings up the drum and the bass...... and lets the stranger deeper ambient sounds throughout the song be heard..... and brings the vocals in the choruses lower, makes them more like an ethereal dreamlike chant. it is so good. I fucking love "The Court." I love it. and it wasn't even my favorite of the Bright Side songs!!! and there's still 10 other Dark Side tracks I haven't even listened to yet!!!

(incidentally, my favorite on Bright Side was probably "Four Kinds of Horses," which has a baffling name but is shockingly good. but some of those really slow stripped-back songs are a close second, especially "So Much." that song is.. breathtaking.... but "And Still" is also stunning??? holy shit that flute.... that mood....)

so. so.

I dunno, maybe some of you like your art pop. go check out Peter Gabriel. the new album's legit.

I leave you with The Court, Dark Side. but I also gave some other song names up there, go check those out.

I do love pop sometimes....

[jerrydevine]

cried at this song on the way to the library

cried at this song on the way back from the library

[munamania]

none of u bitches know this or the oc like i do 😤

[carrythispictureforluck]

when you get this ask you could perhaps maybe bless us with 5 of ur fav songs (currently or of all time), and then send this ask to 5 of your moots who you think have good taste! <3

HI MY LOVE!

I'm just going to do 5 I'm loving currently, because 'of all time' is far too hard. I've been re-watching The OC of late, and that had some bangers of songs so this is heavily influenced by that because I'm obsessed..

Vicious - Sabrina Carpenter

Illicit Affairs - T Swift

Dice - Finley Quaye & Tchad Blake

Hide and Seek - Imogen Heap

We Used To Be Friends - The Dandy Warhols (such a flashback to high school)

[melodiousmonk]

Peter Gabriel announces his first album of new material in over 20 years

i/o releases on 1 December, 2023

i/o is 12 tracks of grace, gravity and great beauty that provide welcome confirmation of not only Peter’s ongoing ability to write stop-you-in-your-tracks songs but also of that thrilling voice, still perfectly, delightfully intact. Throughout the album the intelligent and thoughtful – often thought-provoking – songs tackle life and the universe. Our connection to the world around us – ‘I’m just a part of everything’ Peter sings on title track i/o – is a recurring motif, but so too the passing of time, mortality and grief, alongside such themes as injustice, surveillance and the roots of terrorism. But this is not a solemn record. While reflective, the mood is never despondent; i/o is musically adventurous, often joyous and ultimately full of hope, topped off as it is, by the rousingly optimistic closing song, Live and Let Live.  

Recorded mostly at Real World Studios and Peter’s home studio, the lengthy gestation of i/o means it has a sizeable cast list. Peter has kept his trusty inner circle of musicians close to hand, which means guitarist David Rhodes, bassist Tony Levin and drummer Manu Katché are sterling presences throughout. Several songs bear the fingerprints of long-time associate Brian Eno, whilst there are notable contributions from Richard Russell, pianist Tom Cawley, trumpeters Josh Shpak and Paolo Fresu, cellist Linnea Olsson and keyboard player Don E. Peter’s daughter Melanie contributes warm backing vocals, as does Ríoghnach Connolly of The Breath, while Real World regulars Richard Chappell, Oli Jacobs, Katie May and Richard Evans collectively provide programming and play various instruments. Soweto Gospel Choir and Swedish all-male choir Oprhei Drängar lend their magnificent harmonies to a selection of tracks, and the mass strings of the New Blood Orchestra, led by John Metcalfe, both soothe and soar.

Renowned for being a boundary-pushing artist, i/o is not simply a collection of a dozen songs. All 12 tracks are subject to two stereo mixes: the Bright-Side Mix, handled by Mark ‘Spike’ Stent, and the Dark-Side Mix, as reshaped by Tchad Blake. “We have two of the greatest mixers in the world in Tchad and Spike and they definitely bring different characters to the songs. Tchad is very much a sculptor building a journey with sound and drama, Spike loves sound and assembling these pictures, so he’s more of a painter.” Both versions are included on the double-CD package, and are also available separately as double vinyl albums. And that’s not all. A third version – the In-Side Mix, in Dolby Atmos, comes courtesy of Hans-Martin Buff “doing a wonderful job generating these much more three-dimensional mixes” and is included in three-disc set, including Blu-ray.

Continuing the idea developed for Peter’s US and UP albums, he has again invited a range of visual artists to contribute a piece of art to accompany the music and each of i/o’s 12 songs were handed to a world-renowned artist to create an accompanying work, whether paint, photography, sculpture or even Plasticine. The dozen artists make an exceedingly impressive team of collaborators: Ai Weiwei, Nick Cave, Olafur Eliasson, Henry Hudson, Annette Messager, Antony Micallef, David Moreno, Cornelia Parker, Megan Rooney, Tim Shaw, David Spriggs and Barthélémy Toguo. 

Another visual link with Peter’s past work is the cover shot. Taken by photographer Nadav Kander, it echoes with the covers of his earlier albums, always present but, with the exception of So, intriguingly obscured or manipulated. 

These echoes of the past might resonate, but i/o is fundamentally an album of – and for – the here and now. Many of its themes may be timeless, but they’re also warnings that we’re living on borrowed time, both as a planet and as individuals. 

(Source: Peter Gabriel's mailing list)

[my-chaos-radio]

Release: February 26, 2002

Lyrics:

We've been on the run

Driving in the sun

Looking out for number one

California here we come

Right back where we started from

California here we come

Hustlers grab your guns

Your shadow weighs a ton

Driving down the 101

California here we come

Right back where we started from

On the stereo

Listen as we go

Nothings gonna stop me now

California here we come

Right back where we started from

Pedal to the floor

Thinking of the roar

Gotta get us to the show

California here we come

Right back where we started from

California here we come

California

California here we come

Oh

Songwriter:

California, California here we come

California, California here we come

California, California here we come

California, California here we come

Joseph Meyer / Al Jolson / Darren Robinson / Sam Farrar / Alex Greenwald / Jacques Brautbar / Buddy Desylva / Jason F Schwartzman

SongFacts:

👉📖

[jordynelectricboogaloo]

Thanks for the tag @poppiesandpromises

Rules: shuffle your library and post the first 10 songs.

Tag list: @ctraltshft-haiku @robynshaikucorner @bcmaxwell @nighttime-nyxxii @timeflieslikeabanana @fpchip @most-ment @vixen1012 @lets-dance-to-joy-division and anyone else who wants to join in <3

[horsegirl]

turns out that the rest of this album is also rlly good but nothing is beating CALIFORNIAAAAAAA